353 
523 




A 



COURSE OF STUDY 



Industrial Drawing. 



An Elementary Manual for the Self-Instruction 

oi Teachers and Pupils of Public 

and Private Schools, 



BY- 



4 




PAUL A. GAKIN, 

6«-/ Principal of Drawing in the Public Schools of Oakland, Cal. 



,g£ S j ^3 *'- 




Bacon & Company, Printers, S. F. 



COURSE OF STUDY 



IN 



Industrial Drawing. 



An Elementary Manual for tlie Self-Instruction 

of Teacliers and Pupils of Public 

and Private Schools, 



] < 



■BY- 



DEC 14 1885 



PAUL A. GAEIN, 



Principal of Drawing in the Public Schools of Oakland, Cal. 












/[$.. a 



Copyright, 1885, by Paul"A. Garin. 



* Bacon & Company, Printers, 
San Francisco. 



PREFACE. 



In the practice of my profession as a teacher of industrial 
drawing, it has been my custom for many years, to select from 
all sources what I thought most appropriate for my pupils. 
As a result, I found myself engaged in a course so different 
from any already published, that I was compelled to write this 
book for use in the schools under my supervision. 

Although the materials selected are old, the manner of hand- 
ling them will be found to be quite my own. 

Every example has been thoroughly tested in the school- 
room and proven satisfactory, not only when in the hands of 
the special instructor, but also when used by the regular 
teachers. 

This is really a revised and enlarged edition of my work 
upon the same subject published -last year. 

Several years of practical draughtsmanship in architectural 
and engineering offices, and a long and varied experience as a 
teacher in all the grades and classes of the public schools, 
have shown me the need of a drawing manual to meet the in- 
creasing demands for a practical education, so large a part of 
which education lies in the knowledge of industrial draioing, a 
study so necessary and yet so little understood by my fellow- 
teachers and the public generally. 

Paul A. Garin. 

Oakland, Cal., Dec. 1st, 1885. 



NOTE. 

These few pages are published in advance, solely for the benefit 
of my fellow members of the State Teachers' Association of Cal- 
ifornia. 

My spare time is so limited that, at least, one year must elapse 
before the writing of this Manual is completed. 

P. A. G. 



INTRODUCTORY. 



The natural conservatism of the public, the lack of trained 
instructors and of proper methods, are responsible for the 
slow progress made, thus far, by drawing in the public schools 
of this country. 

Parents must be convinced that drawing is a practical ne- 
cessity in the education of their children. 

Regular teachers must know what to teach, and be capable 
of teaching it. 

Methods of drawing must be proper methods. They are not 
so when they are too difficult ; not practical ; not industrial ; 
not graded ; uninteresting ; without a definite plan ; so vague 
in their directions as to be unintelligible to pupils and teach- 
ers ; or when they require too much time. 

Pretty but useless designs, to please the eye ; tracing and 
dotting, to render easy those figures that are beyond the pupils' 
proficiency; the name industrial given to artistic work in or- 
der to capture the mechanic's good will ; advertising, exhibi- 
tions, etc., cannot save such so-called methods from an un- 
fortunate but well-deserved fate. 



AIMS IN TEACHING DRAWING. 

Drawing should be taught : 

1st. To train the sight. 
2d. To develop the mental faculties. 

3d. To master the reading and writing of the line-lan- 
guage of forms. 

TRAINING THE SIGHT. 

Our quickest, strongest, clearest, most lasting impressions, 
we receive through the sense of sight. 

The eye is ordinarily the principal agent of the mind, to 
guide our acts either for business or pleasure. 

The more accurately we see, the more skillfully we work. 

Therefore, the sight of our pupils should be especially 
trained. 

Yet, what special sight-training do we give them ? Is their 
sight so perfect that it requires no training? Is it not true, that 
the pupils' so-called carelessness is often a defect of their sight? 
That their untrained eyes receive only partial, indistinct, im- 
perfect impressions of objects ? That in reading, they often 
see an imaginary word for the real one ? In arithmetic they 
leave out a figure or take it to be another ? And so on with 
all the studies? Who can tell how many years of exertion, 
on the part of pupils and teachers, are wasted, for the want of 
a proper training of the organ of sight ? 1 

Drawing, as developed in this book, furnishes the kind of 
eye-calisthenics that will go far to correct these evils. 

i u Cohering trains and aggregates of the sensations of sight make, more than 
any other thing, perhaps more than all other things put together, the material of 
thought, memory, and imagination." — Bain's u The Senses and the Intellect/' p. 
314. 



EDUCATING THE MENTAL FACULTIES. 

Drawing, in training the sight, develops perception, atten- 
tion, memory, association, imagination, judgment, and taste. 

Moreover, it conduces to habits of order, neatness, and ac- 
curacy. 

Consequently, it becomes a powerful adjunct to all other 
studies. 

For instance, because drawing applies ideas of position and 
distance, it helps in geography, history, arithmetic, penman- 
ship, and in all studies employing these ideas. Designing is 
composition, — with lines instead of words ; sketching or dia- 
gramming is an extension of reading, writing, and language. 1 

DRAWING AS A LANGUAGE. 

Living in a world of forms, surrounded by them, dealing 
constantly with them, we must have some means of describing 
them. 

But forms are often so subtile, so varied, that to define them 
no word-language is adequate. A line-language is there- 
fore necessary. 

There is no form under heaven that cannot be conveyed 
to and impressed upon our minds through the agency of lines. 
This line-writing is called Drawing. 

Educating our children for this present mechanical and in- 
ventive age, we must teach them, and they must learn this 
line-w r riting, if they are to be prepared for practical life. 

This leads us to inquire into the 

NECESSITY OF DRAWING FOR ALL. 

Drawing is necessary : 

1. To the Teacher, to illustrate most of his lessons ; to 
shorten his explanations ; to make them clearer and more in- 
teresting ; to engrave them sharply and permanently upon the 
minds of his pupils. 

1 " I see a future in drawing, which I see in nothing else in the way of developing 
the mental powers." — Francis W. Parker, in " Talks on Teaching." 



By this method, he saves time, labor, weariness of mind, 
and fatigue of body. 

This is why our modern readers, arithmetics, geographies, 
histories, composition-books, etc., are very properly filled with 
illustrations and diagrams. 

Drawing is an extension of language. Those, therefore, who 
write a word-language only, are but partially equipped, beino* 
unable to describe all their form-thoughts. 1 

A teacher without the power of illustrating common objects 
before his class, is but one-half as efficient as he would be, if 
the minds of his pupils could be reached by him, through the 
two senses of hearing and sight, instead of that of hearing 
only. 2 

What long editorials may be read in a single moment's in- 
spection of a cartoon by a Nast ! 

What a power a few lines were in the hands of Agassiz, 
in his wonderful explanations of Nature's secrets ! 

Without being a Nast or an Agassiz, a teacher should be 
able to sketch simple illustrations and diagrams before his 
pupils. 

The degree of 'perfection in such sketches matters little, so 
long as the children understand them, and are interested in the 
meanino; of the scratched lines. 

Take a class of small children, and, while telling them a 
story, illustrate it upon the blackboard by beautiful and mas- 
terly outlines like these : 




i " Given the skill to draw, and a teacher is never helpless, for then he can teach, 
even if everything else is taken away." — Francis W. Parker in u Talks on Teaching." 

2 " The eye is par excellence the intellectual sense." * * * " Sight is of far greater 
importance in intellectual education than hearing, yet the latter is commonly made 
the principal medium of school instruction, notwithstanding it is comparatively of 
much less value than the former." — N". A. Calkins, in " Manual of Object Teaching," 
p. 369. 



and the flood-gates of their minds, their eyes and ears, will 
be thrown wide open to receive the flow of your eloquence. 

2. To all Professional Men, for they, too, are in need of 
illustrating and diagramming. 

The lawyer, to understand for himself, and to explain to a 
jury, the exact facts about land disputes, location of persons 
and things in criminal cases, disagreements between manufac- 
turers, patentees, etc., in civil suits. 

The physician, in giving orders for the construction of in- 
struments, artificial supports, and a number of contrivances 
necessary in surgery. 

3. To surveyors, architects, engineers, artist-painters, etc., 
who are line-writers, and whose professions could not exist 
without drawing. 

4. To the great army of Artisans who, without it, cannot 
read and write the language of their trades — working-drawings. 

Among the many under this head, may be enumerated : 
silver-smiths and gold-smiths, engravers, lithographers, photo- 
graphers, printers and book-binders, manufacturers in silk, cot- 
ton, linen and woolen goods, stucco-plasterers, house painters, 
turners, potters, molders, weavers, glaziers, basket makers, 
tailors, boot and shoe makers, gardeners, coppersmiths, iron and 
brass founders, tinmen, wagon-builders, millers, machinists, 
cabinet makers, and carpenters. 

5. To the Farmer, too, who has land to plot, buildings to 
erect, machines to operate and repair, drawing is an important 
acquisition, because he must be of necessity somewhat of a 
carpenter, blacksmith, mason, engineer, and surveyor, either 
in doing; his work himself, or in directing others. 

6. In a recent article on drawing, we read: "In the pres- 
ent day, accuracy of eye is necessary to a great variety of 
callings, not only for the mechanic, in the production of man- 
ufactures, and the merchant who must judge of the products, 
but for the thousands of employees on railroads, steamboats, 
and ferries, where the safety of life and property depends, in 
a great degree, upon that accuracy." 



10 

7. Our Girls need drawing. 

Not only are there trades especially adapted to them, but 
little by little, women are encroaching upon man's labor field. 
Eeally, it would be better to have a more evenly balanced di- 
vision of this field. Girls should have all the light employ- 
ments. Let the boys strengthen their arms in roughing the 
world of hard labor. 1 

Women, as housekeepers, should be able to cut and make all 
kinds of garments and fancy work. They need ideas of order, 
arrangement and management, as well as men. They all should 
have trained and skilled eyes and hands, some taste, some in- 
vention. With these, there would be at home less waste and 
want, more contentment and prosperity. 



THE KIND OF DRAWING NEEDED. 

Drawing is either artistic or industrial, according to its 
use by the artist or by the artisan. 

Artistic, it is a luxury ; industrial, it becomes a necessity. 

Common schools are not luxuries ; hence artistic drawing, as 
such, should havo no place in them. 2 

1 "It is a libel upon humanity to behold unmanly young creatures behind coun- 
ters, caressing their growing mustaches, smiling at their customers, or laboring 
awfully hard to measure a yard of tape. Why don't they give the girls a chance ?" 

2 It is not meant by this, that artistic drawing should not receive the State's 
fostering care; that special art schools should not be founded for that purpose. 
This commonwealth would be well repaid, in time, for all expenditures judiciously 
made, in establishing and maintaining these schools. Most of the European pow- 
ers have tried this experiment with success. The example of England in founding 
the South Kensington Museum and Art School is a patent proof that, even as a 
business transaction, it is a sound undertaking. But with their desire to popular- 
ize and disseminate art, we are not aware that they have turned their common 
schools into art schools. In their common schools they teach only enough of draw- 
ing to help artisans. For artists and draughtsmen, they have special schools. 
Until we find a better way, their experience should guide us. We should, for the 
present, and until we are better prepared for it, preserve a careful distinction 
between common and special schools. 

One cause of failure, in the past, has been in our attempt to make artists of all 
our pupils. 



11 

Industrial drawing is divided into free hand and instru- 
mental. The former gives an approximate, the latter a math- 
ematical representation of forms. 

The hind of free hand draining advocated here, should, be 
known by every child in the land. 

It needs no perfection. 

It takes but little time — about one hour weekly. 

It is easily learned — not requiring special gifts. 

It does not cost much — a pencil and paper, or slate. 

In view of the principles and aims just explained, it is an 
invaluable acquisition through life. 

When sufficiently advanced, pupils should procure the few 
geometrical instruments needed, and learn instrumental draw- 
ing, in order to make their working drawings to scale. 1 

PERFECTION. 

One of the greatest obstacles in the way of free hand draw- 
ing is the false idea, that it must be perfectly executed. 

To show the absurdity of this belief, apply the ride of 'per- 
fection to other studies. Let us say to our pupils : " Never 
sing unless you are perfect singers ; never write if you are 
not perfect penmen ; and, particularly, never talk if you have 
not a perfect command of language." 

As a matter of fact, are our pupils, are we ourselves, perfect 
in reading, writing, arithmetic, etc. ? 

Drawing is not an exception. 

All recent writers on drawing are unanimous upon this 
subject. 

Walter Smith says : " The teacher who has, at the end, 

1 The employment of working drawings is now almost universal ; yet only a 
small part of the artisans of the United States are able to interpret them. The 
blunders they make are not only ludicrous oftentimes, but oftentimes costly. There 
is now very little apprenticeship, with special instruction ; and, since it is no easy 
matter for workmen to " pick up " the knowledge they need, they usually know 
nothing of drawing, and so are compelled to work at reduced wages. Sufficient 
knowledge to enable them to read working drawings, which all artisans urgently 
need, and which would be of more or less service, directly or indirectly, to every 
one, the school can easily give." — Chas. B. Stetson. 



12 

nothing to show but finely drawn lines, has given poor in- 
struction." * * * Geometrical accuracy in free hand drawing 
is not expected from any one." 

Heman P. Smith expresses our whole thought when he 
writes : " There is no greater error among teachers, than to look 
for perfect work from the lower grades : the work should repre- 
sent the grades. Much must be left to time, and to the ma- 
turing processes whict are going on in the scholars' minds. 
Do not expect perfect work from the immature minds of chil- 
dren. Do not aim for fine drawings, but for progress and de- 
velopment. The real work done by the teacher is not on the 
pages of the drawing book, but in the minds of the pupils. 
Labor, therefore, to produce mental impressions first : good 
drawings will take care of themselves, and come along as the 
product of mental development. It is a common fault of teach- 
ers, that they use the time of the class endeavoring to produce 
more perfect drawings than the development of their pupils 
warrants ; and resort is had to ruling and measuring, to do what 
the pupil is otherwise unable to accomplish. This is especially 
true in the lower grades ; nothing but a weak, doubting, and 
hesitating method ever results from such a process. Let your 
pupils draw, and trust them to draw ; draw rapidly, and draw 
promptly and freely, as children play. Put this advice into 
practice, and the pupils will draw with enthusiasm ; and when- 
ever you have enthusiasm in the school room, you will have 
progress." 

When, upon leaving school, a pupil can make a sketch or dia- 
gram of a common object — it matters not how poorly drawn, 
if recognizable, — and we know, moreover, that his sight has 
been improved, and his mental power increased, we, teachers, 
ought to feel that we have met with as complete a success as 
can be achieved during the short weekly hour, generally al- 
lotted to this exercise. 

As much as any study pursued by our pupils, rational draw- 
ing, by training their eyes, educating their minds, giving them 
a line-language, helps to throw wide open the gates that lead 
to a practical and a useful life. 



13 



GENERAL DIRECTIONS FOR FREE-HAND 
DRAWING. 

TO THE TEACHER. 

1st. Desire perfection, but do not expect it ; at least, 
not more than in writing, of which Industrial Drawing is an 
extension. 

This book is neither for perfect teachers nor for artist-pupils. 



2d. All the pupils of the class should work simultane- 
ously. 

3d. Thirty (30) seconds should be ample time for the dis- 
tribution of drawing materials and be ready for the les- 
son. 

If it takes a longer time it should not be called drawing-time. 



4th. Definitions and etymology of geometrical terms not 
required, especially in the lower grades. A square is this, □• 
What is that ? | [ Ans. An oblong. 

If pupils can see the difference between these two figures, and give the name of 
each, the teacher should be satisfied. It is not necessary to define tables, chairs, 
etc., to know what they are. 



5th. Encourage the pupils to make their own designs. 

They are more interested in what they originate, than in the finest patterns drawn 
for them. 

6th. Have the best of these original sketches drawn upon 
the blackboard. 

7th. Select, to be copied by all, those best adapted to the 
capacity of the class. 



14 

8th. Exception. As a reward, let the pupils who have 
found other good patterns copy them in their own books. 



9th. Drawing time. At least one hour weekly. Divide 
it into half-hour lessons for large pupils, and quarter hour les- 
sons for the others. 

The amount of time should not be counted by the number of minutes given to 
talking, but by that actually devoted to drawing. 

The time passed by the teacher in making fine and elaborate figures upon the 
blackboard should also be subtracted from that hour. The blackboard should be 
used only to explain principles, to illustrate right and wrong methods of work, and 
to make a rough sketch of the example to be worked by the class. 



10th. No great difficulty is found in drawing when the 
teacher : 

(a.) Studies, prepares, and practices each drawing lesson 
before entering the school room. 

(6.) Uses few words and many corrections. 

Drawing is essentially a deed work, not an exercise in elocution. The tongue is 
generally a very poor pencil ; and the ear of the student should have very little to 

see. 

(c.) Never discourages his pupils, but, on the contrary, 
praises their efforts when he cannot commend their skill. 

Let us remember that free-hand drawing is only an approximate description of 
forms, and is not like instrumental drawing, a, mathematical representation of them. 
In an extreme case, please read " Perfection," page 11. 

" Do not, however, conclude that careless, slovenly work is ever to be tolerated ; 
for it is not. Shun extremes." — Walter Smith. 



TO THE PUPILS. 

11th. In this course of free-hand drawing, it is expressly- 
forbidden : (a) to erase lines ; (b) to rule ; (c) to measure ; 
(d) to trace. 

Drawing is doing ; erasing, undoing. We do not learn by erasing. Ruling, meas- 
uring, and tracing are for instrumental, not for free-hand work. By transgressing 
these rules, self-reliance, close attention, boldness of execution, time, etc., are lost . 



15 



12th. Keep the body erect. 

Stand as far as possible from the slate or book. The work is better seen ; the 
chest and sight are not injured. 



13th. The book should always be clean, and its pages 
properly numbered. 

14th. The lower edge of the book or slate should be 

parallel with that of the desk. 

• 

15th. After each dot or line, the book or slate should 
be held vertically, at arms' length, in front of the eyes, 
turning the book or slate about for better examination. 

This is one of the most essential directions. If it be not observed, little or no 
real progress can be made. 

To see a line distinctly, a distance of at least three to five times the length of that 
line is required. 



16th. Pencils should be : 

(a.) At least four inches long. 
(6.) Well sharpened. 

(c.) Collected after each lesson, and used for drawing only. 
Good work cannot be done with poor materials. 

17th. The pencil should be grasped lightly with the fin- 
gers, about one and one half inches from the point. The light- 
er the line is to be, the farther the fingers from the point of 
pencil. 

18th. It should be held nearly at a right angle with the 
line being; drawn. 




Note. Move the pencil according to the directions indicated by the arrows. 



16 

19th. Caution. Turn freely the arm and body, not the 
book or slate. 

This is to cause the pupil to draw lines in all directions, and increase the freedom 
of his hand. 

20th. Make dots light and small. 

21st. When numbered in this course, make them in the ex- 
act order of numerals. 

22d. Never number dots on slates or in books. 

• 

23d. When dots are not numbered, in this book, they 
should be drawn, as much as possible, in the following order: 

(1) center ; (2) left ; (3) right ; (4) above, and (5) be- 
low the center. 

24th. To draw a line. 

(a.) Make a dot for each end of the line ; for a curve, 
other dots showing its altitude. 

(5.) Without touching the slate or paper, carry the pencil 
three times over the path of the intended line. 

(c.) Sketch the line very lightly, looking at the dot it is de- 
vised to reach, and not at the point of the pencil. 

" When a carpenter drives a nail, he does not look at his hammer, but at the 
nail-head. Just so in drawing a line, to hit a given dot, look at the dot and not at 
the pencil. All beginners are inclined to do the opposite ; the teacher, therefore, 
must give a special attention to this matter." 

(d.~) If the sketch be icrong, correct it by drawing another 
light line. 

(e.) Line in with a slow, uniform motion, following the 

corrected sketch. 

Never allow the pencil to move faster than the eye or mind ; otherwise the line 
will be drawn at hazard. 

See that the hand does not obstruct the vision. 

(/*.) Make the line of the same size throughout the whole 
length. 

(g.') Make it gray rather than white upon slates, or black 
upon paper. 

25th. For all ordinary lines, use the arm movement ; for 
very short lines, the finger or the wrist movements. 



17 

26th. When sketching with a broken line, do not use dots 
(....) but dashes ( ). 

The pencil should be carried steadily forward and quite rapidly, touching the pa- 
per at intervals. Never stop until the desired point is reached. 

Beginners should not sketch with a jerky movement, advancing a little, then 
returning. 

27th. For parallel lines, keep constantly in sight the first 
line drawn. 

28th. Except for given lengths, always draw on as large a 
scale as possible. 

29th. Practice often upon the blackboard,, 
(a ) Keep the center of the figure on a level with and op- 
posite the eye. 

(&.) After each dot or line, stand a few feet from the board, 
in front of the sketch, and correct it if needed. 

30th. Caution. A pupil who tries to be steady by touch- 
ing the blackboard with his hand or arm, will fail to acquire 
freedom of movement. 

31st. When drawing very long horizontal lines, carry the 
body forward with the hand. For vertical lines, stand far 
enough from the board to allow the extended arm to drop easi- 
ly downwards. 






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